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Posts tagged Graeme Edge
Moody Blues – December (2003) (@256)
15 Apr 2010
(Review from allmusic)
With Ray Thomas deciding to retire after the latest tour, the band is trimmed to a trio with additional musicians.
“December” is an album about the spirit of Christmas but with its lack of carols, it sounds more like another chapter in the Moody Blues’ legend.
Like many Moody Blues records since the 1980s, the original songs are nostalgic, pointing listeners back to memories of an idyllic past when things were simpler, and toward the hope that social and spiritual renewal are just around the corner.
The set features a number of Hayward and Lodge originals, obscure and traditional Anglo folk songs, a transposed piece by Bach, and a cover of John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” — alas, if only that were true.
There is no new age drivel here; its topics and themes are indeed Christian, but weigh on the side of those that are universally held: brotherhood, compassion, hope, goodwill, and generosity.
It’s beautifully orchestrated and produced. Its sound is pristine, and Hayward and Lodge with their trademark elegance sound as if they mean every word they write and sing. It most certainly is sentimental and lush, and has nothing whatsoever to do with rock & roll.
Line-up:
- Justin Hayward / vocals, guitar
- John Lodge / vocals, bass
- Graeme Edge / drums
with
- Danilo Madonia / keyboards, sequencing
- Norda Mullen / flute
Track List:
01. Don’t Need A Reindeer – 3:59
02. December Snow – 5:11
03. In The Quiet Of Christmas Morning – 2:51
04. On This Christmas Day – 3:40
05. Happy Xmas (War Is Over) – 2:37
06. A Winter’s Tale – 4:28
07. The Spirit Of Christmas – 4:52
08. Yes I Believe – 4:21
09. When A Child Is Born – 3:34
10. White Christmas – 3:08
11. In The Bleak Midwinter – 3:21
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Moody Blues – Strange Times (1999) (@256)
14 Apr 2010
(Review from wikipedia)
After a lengthy (8 year) break, Moody Blues release a very airy and generally more minimal-sounding album, with a slower pace. The sound features acoustic guitar, slightly processed electric guitar, light organ, flute, and string arrangements.
The exception may be the opening track “English Sunset,” which is arguably one of the fastest, most emotionally-charged, and synthesiser-laden Moody Blues’ songs ever recorded.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass, vocals
- Ray Thomas / flutes, harmonicas, vocals
- Graeme Edge / drums
with
- Danilo Madonia / programming, keyboards, orchestrations
Track List:
01. English Sunset – 5:05
02. Haunted – 4:31
03. Sooner Or Later (Walkin’ On Air) – 3:50
04. Wherever You Are – 3:35
05. Foolish Love – 3:56
06. Love Don’t Come Easy – 4:33
07. All That Is Real Is You – 3:33
08. Strange Times – 4:29
09. Words You Say – 5:31
10. My Little Lovely – 1:45
11. Forever Now – 4:37
12. The One – 3:39
13. The Swallow – 4:58
14. Nothing Changes – 3:32
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Moody Blues – A Night At Red Rocks (Live 1993) (@256)
10 Apr 2010
(Review from progarchives.com, wikipedia)
Performing on tour with a series of regional orchestras, they brought the majesty of their old studio sound onto the stage for the first time and audiences responded by turning them into one of the top concert draws of the decade.
Red Rocks is a natural amphitheatre near Denver in the USA, into which an outdoor concert arena has been built. A number of artists have released live albums recorded there, presumably due to the favourable acoustics. Moody Blues was there with the Colorado Symphony Orchestra.
The songs included in the concert are largely predictable, their live repertoire showing relatively minor variations over the years. There is no criticism in this, the tracks selected are among their best, and cover a good cross section of their albums.
The performance here is very good, and the songs are recreated pretty faithfully throughout. The addition of an orchestra does enhance the overall sound, but they are kept firmly in check in terms of the mix, with the band very much to the fore. There are some notable exceptions, such as the wonderful orchestral break on “Isn’t life strange”, which helps to give this majestic song an impressive new dimension.
Line-up:
- Graeme Edge / drums
- Justin Hayward / guitars, vocals
- John Lodge / bass, acoustic guitar, vocals
- Ray Thomas / flutes, vocals
with
- Spencer Allen / keyboards
- Paul Bliss / keyboards
- Bias Boschell / keyboards
- June Boyce / backing vocals
- Matt McShane / guitar
- Sue Shattock / backing vocals
- Allan Terry / drums
Track List:
01. Overture – 2:58
02. Late Lament – 1:35
03. Tuesday Afternoon (Forever Afternoon) – 4:42
04. For My Lady – 4:11
05. Lean On Me (Tonight) – 4:39
06. Lovely To See You – 4:04
07. I Know You’re Out There Somewhere – 5:22
08. The Voice – 5:28
09. Your Wildest Dreams – 4:57
10. Isn’t Life Strange – 6:44
11. The Other Side Of Life – 7:05
12. I’m Just A Singer (In a Rock and Roll Band) – 6:55
13. Nights In White Satin – 6:33
14. Question – 6:22
15. Ride My See-Saw – 5:26
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Moody Blues – Sur La Mer (1988) (@256)
08 Apr 2010
(Review from progarchives.com)
“Sur la Mer” is the first album not to feature member Ray Thomas at all, in that while he did make some backing-vocal contributions to the album’s sessions, these vocal tracks were never mixed in. On previous albums his vocal harmonies, lead vocal on at least one track and occasional flute gave them a completeness which is perhaps missing here.
This is very much a Hayward and Lodge album. Patrick Moraz is still present, but his contribution is to the overall sound, with virtually nothing up front at all from him. The album bears more rock and acoustic influences than its predecessor.
The lead track, “I know You’re Out There Somewhere” mirrors the gently rocking opening tracks to most of their albums, and stands as a classic Moody Blues song. “No More Lies” is probably the highlight, being a slower song in the style of “Melancholy Man”.
Among other notable tracks, “Vintage Wine” is a catchy, if slight, look back at the ’60s. “Deep” is as overtly sexual as any piece in the Moody Blues songbook. “Breaking Point” is much darker than most material in the group’s catalog, as it looks at someone who is seemingly at the brink of losing sanity.
Line-up:
- Justin Hayward / guitars, keyboards, vocals, drum sequencing
- John Lodge / bass, keyboards, vocals, drum sequencing
- Graeme Edge / acoustic drums
- Patrick Moraz / keyboards
Track List:
01. I Know You’re Out There Somewhere – 6:37
02. Want To Be With You – 4:48
03. River Of Endless Love – 4:45
04. No More Lies – 5:15
05. Here Comes The Weekend – 4:16
06. Vintage Wine – 3:38
07. Breaking Point – 4:55
08. Miracle – 4:57
09. Love Is On The Run – 5:02
10. Deep – 6:50
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Moody Blues – Other Side of Life (1986) (@256)
07 Apr 2010
(Review from amazon, wikipedia, progarchives.com)
“The Other Side Of Life” is easily the most polished, radio-friendly offering in the band’s whole catalog. The music on this album marked the beginning of dominant synthesizer, sequencer, and drum machine use by the band, to the point that it could be classified as a “synthpop” record; a surprising stylistic change for a band that had pioneered symphonic rock.
Patrick Moraz is slightly more noticeable at times than on other albums, he even co-wrote the pop rock track “The spirit” with Graeme Edge. Ray Thomas on the other hand appears to have spent the writing sessions in a different room..
“Your Wildest Dreams” is a typical opener, an up tempo number with classy harmonies and an infectious melody. A direct descendant of “The Voice” from “Long Distance Voyager”, the single became a major hit in the US.
The title track is a blues inspired and deliberately slow paced, almost plodding, yet strangely swinging, number in which repetition of motifs only serves to enhance the effect. Hayward sings with dignity and plays a short but blazing lead solo. The most impressive aspect is that it really doesn’t sound like anything they have done before.
The album, thanks to the video and the single, was good enough to tour off of, and help pull in the group’s most enthusiastic audiences in a half-decade.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass, vocals
- Ray Thomas / flutes, harmonicas, vocals
- Graeme Edge / drums
- Patrick Moraz / keyboards
with
- Barry Radman / additional programming & sampling
Track List:
01. Your Wildest Dreams – 4:51
02. Talkin’ Talkin’ – 3:55
03. Rock ‘n’ Roll Over You – 4:50
04. I Just Don’t Care – 3:28
05. Running Out of Love – 4:24
06. The Other Side of Life – 6:52
07. The Spirit – 4:19
08. Slings and Arrows – 4:29
09. It May Be a Fire – 4:54
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Moody Blues – Present (1983) (@256)
05 Apr 2010
(Review from progarchives.com)
This 1983 offering has many of the qualities and hallmarks we have come to expect from the band over the years.
“Blue world” is a typical Moody Blues opener, with a strong rhythm and a catchy melody. It is slightly slower and softer than tracks such as “I know you’re out there somewhere” and “The voice” but very much in that mould. Unusually, we actually have three successive tracks of this type to start the album, “Meet me half way” and “Sitting at the wheel” being a simple case of more of the same. John Lodge sings lead vocal on the latter, which is even more upbeat.
It is only when we get to Graham Edge’s “Going nowhere” that things relax slightly. The criminally underused Ray Thomas provides lead vocal on the verses here, his strong quivering voice setting the song apart. There is no question that Justin Hayward is a superb singer, but it would have been wonderful to hear Thomas singing on the band’s albums a lot more than he was allowed to.
The second side of the album opens with a brief instrumental “Hole in the world” which builds through a marching drum beat, spacey guitar and synth sounds to provide an extended introduction to “Under my feet”, another rather prosaic John Lodge led song. Justin Hayward returns to centre stage for a brace of his typical romantic ballads, “It’s cold outside of your heart” and “Running water”. The latter is a particularly melodic song which is pretty much a solo rendition.
In another unusual twist, the album closes with a couple of Ray Thomas songs. The brief “I am” harks back to the band’s earliest days, while “Sorry” would have fitted in well on either of Thomas’s excellent solo albums. The track builds from a gentle start to an upbeat rock song, Moraz keyboards and Thomas’s flute adding fine colours to the song. Throughout the album, Patrick Moraz contributions are very much designed to create a big overall sound, any solos being simplistic and brief. The production is clean and uncluttered.
The ordering of the tracks on the album is rather odd, with songs of a similar type being put sequentially together. With the song writers by and large retaining full control of their own songs this tends to give the album a rather piecemeal flavour.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass, vocals
- Ray Thomas / flutes, harmonicas, vocals
- Graeme Edge / drums
- Patrick Moraz / keyboards
Track List:
01. Blue World – 5:20
02. Meet Me Halfway – 4:08
03. Sitting At The Wheel – 5:40
04. Going Nowhere – 5:33
05. Hole In The World – 1:54
06. Under My Feet – 4:51
07. It’s Cold Outside Of Your Heart – 4:27
08. Running Water – 3:23
09. I Am – 1:40
10. Sorry – 5:02
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Moody Blues – Long Distance Voyager (1981) (@256)
04 Apr 2010
(Review from progarchives.com, wikipedia)
By 1980 the band was ready to record again. Patrick Moraz was retained as the band’s permanent keyboardist, though Mike Pinder had originally understood that he would continue to record even if not touring with the band. Pinder attempted legal measures to prevent the new Moody Blues album from reaching the public without his contributions, but he was not successful, and ultimately, he never returned to the fold.
With Moraz ensconced on keyboards, the Moody Blues came up with a really strong, diverse offering. There’s more power to many of the tracks here than on previous (and subsequent) albums, and this combined with some first class song writing makes for a most enjoyable collection. Even slower tracks such as the excellent “Talking out of turn” have much more substance to them, mainly as a result of the combination Moraz keyboards plus orchestra providing the backing. As is the norm with Moraz appearances on Moody Blues albums, he never really takes the limelight, preferring to provide layers on which the rest can build.
The album opens with a typical up tempo number, “The voice” but the album has a better mix than usual of faster numbers and melodic ballads. Tracks such as “Gemini Dream” “Meanwhile” and “Veteran Cosmic Rocker” all find the Moodies pushing the pace along, while “In my world” is another fine example of the there ability to produce harmonious and melodic softer numbers.
A really fine album for those who enjoy this lighter style of music.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass, vocals
- Ray Thomas / flutes, harmonicas, vocals
- Graeme Edge / drums
- Patrick Moraz / keyboards
with
- The New World Philharmonic
- Pip Williams / string arrangements
Track List:
01. The Voice – 5:18
02. Talking Out Of Turn – 7:19
03. Gemini Dream – 4:09
04. In My World – 7:19
05. Meanwhile – 4:09
06. 22,000 Days – 5:26
07. Nervous – 5:46
08. Painted Smile – 3:18
09. Reflective Smile0:37
10. Veteran Cosmic Rocker – 3:12
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Moody Blues – Octave (1978) (@256)
02 Apr 2010
(Review from blogcritics.org, amazon, progarchives.com)
Moody Blues returned after a five year hiatus with a very different sounding album. The punk and disco era were now in full flower and such groups as Styx, Journey, and REO Speedwagon were dominating the rock charts. Octave would abandon the cosmic and symphonic sound of the group’s past, and move toward one more in tune with the era.
This album is strongly influenced by the member’s solo projects without a unifying concept or theme. Each song matches the individual personality of its composer. The band’s trademark multi-voice harmonising begins to take a back seat: there is less of it, and subtle changes in the mix push principal singers to the fore on most songs, a trend that would continue in future years. The mellotron is missing from much of the album, mostly replaced by more modern synths, with real strings on a couple of tracks.
The John Lodge composition, “Steppin’ In A Slide Zone”, is typical of the new sound. It is an energetic Lodge rocker but the musical center is the keyboard-guitar interplay which was in vogue at the time. It is catchy and was a commercially successful single.
Justin Hayward is in ballad mode for this release, his music is still very listenable because of the innate beauty of the songs. “Had To Fall In Love” and “Top Rank Suite” are both very mellow. “Driftwood” is the best of the bunch, as it is a gentle love ballad which was a Hayward trademark by this time. His closer “The Day We Meet Again” point toward the future as a new keyboardist was on the way and the grand classical sounds were being left behind.
Ray Thomas shines with “Under Moonshine”, a strong lead vocal by him plus some classic harmonies by the other members of the group.
“One Step Into The Light” is a final spiritual statement by Mike Pinder and his only composition on the album. The music is more progressive rock than the grandiose sound of his past as he would bring his Moody Blues career to a conclusion.
“Octave” is different, more modern, and ultimately a transitional work.
During this period, Yes had asked their keyboard player, Patrick Moraz, to leave. Moraz’s management had some contacts with the Moodies, and after a successful audition with the band, he was hired as keyboard player for the “Octave World Tour”.
Line-up:
- Justin Hayward / vocals, guitar, keyboards
- John Lodge / vocals, bass, keyboards
- Ray Thomas / vocals, flute, harmonica, tambourine
- Graeme Edge / drums, percussion, vocals
- Mike Pinder / vocals, organ, synthesizer
Track List:
01. Steppin’ In A Slide Zone – 5:34
02. Under Moonshine – 4:59
03. Had To Fall In Love – 3:40
04. I’ll Be Level With You – 3:49
05. Driftwood – 5:01
06. Top Rank Suite – 3:43
07. I’m Your Man – 4:20
08. Survival – 4:09
09. One Step Into The Light – 4:28
10. The Day We Meet Again – 6:24
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Graeme Edge Band – Paradise Ballroom (1977) (@256)
30 Mar 2010
(Review from allmusic)
Having been pushed to the periphery on his sophomore solo album, Kick Off Your Muddy Boots, Moody Blues drummer Graeme Edge wrestled back control for the follow-up, Paradise Ballroom. Edge insisted on co-writing all the tracks with Gurvitz (he had contributed only three on his debut), and promoted Paul Gurvitz to lead vocalist.
This resulted in a much more coherent set, and a far funkier one, throwing the spotlight directly onto the rhythm section, bolstered by guesting Traffic percussionist Rebop Kwaku Baah.
Of course, Gurvitz’s lead guitar still splays across the album, but so does a full horn section, as the set sashays around disco, reggae, Motown, funk, and soul, the upbeat songs counterbalanced by gorgeous, introspective numbers. The discofied adaptation of “Everybody Needs Somebody” is inspired, the breezy “In the Light of Night” a delight, and the funky title track a soul-filled extravaganza.
Line-up:
- Adrian Gurvitz / vocals, guitars
- Paul Gurvitz / bass, vocals
- Graeme Edge / drums
Track List:
01. Paradise Ballroom – 8:16
02. Human – 6:08
03. Everybosy Needs Somebody – 3:23
04. All in Fair – 5:06
05. Down, Down, Down – 5:55
06. In the Night of the Light – 3:08
07. Caroline – 5:57
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Graeme Edge Band – Kick Off Your Muddy Boots (1975) (@256)
29 Mar 2010
(Review from rateyourmusic.com)
Having enjoyed worldwide successes through the early and mid-1970s, the individual Moody Blues had no problems finding support to release a host of outside projects. Longtime drummer Graeme Edge was no different, striking out in pursuit of solo success with the release of 1975′s “Kick Off Your Muddy Boots”.
Released by The Moody’s’ own Threshold label, the album was credited to The Graeme Edge Band, but in many respects it stood as an Adrian Gurvitz project. In addition to co-producing the album with Edge, Gurvitz handled most of the lead vocals, provided lead guitar, and wrote about half of the material. He has a voice that might not sound out of place in “The Band”, kind of throaty and Southern.
The album bursts with intensity and features much musical variety. From “Bareback Rider” to “Something We’d Like to Say” (written by Graeme Edge) each song makes a strong, punchy point. “The Tunnel” is a typically intense Gurvitz instrumental. Graeme’s songs hold their own with Adrian’s, an encouraging sign. “Shotgun on the 4.42″ is an instantly memorable western saga, with some stunning unison work on acoustic and electric guitars.
Line-up:
- Adrian Gurvitz / vocals, guitars
- Paul Gurvitz / bass, vocals
- Mickey Gallagher / keyboards
- Graeme Edge / drums
Track List:
01. Bareback Rider – 5:15
02. In Dreams – 5:12
03. Lost In Space – 4:40
04. Have You Ever Wondered – 5:08
05. My Life Is Not Wasted – 2:59
06. The Tunnel – 2:10
07. Gew Janna Woman – 4:16
08. Shotgun – 4:11
09. Somethin’ We’d Like To Say – 3:31
10. We Like To Do It – 4:05
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Moody Blues – Caught Live +5 (1969) (@256)
25 Mar 2010
(Review from allmusic, wikipedia)
Caught Live + 5 is a 1977 Moody Blues double album consisting of a December 12, 1969 live show at the Royal Albert Hall and five previously unreleased studio recordings from the same time period.
The unofficial word among fans is that several of the group members were under the influence of controlled substances during the show and were, thus, less sharp than they might otherwise have been, though you’d never know it from the results here.
The 1969 Royal Albert Hall show sounds a lot better on this CD edition than it did on the LP, with a closeness that was never evident before — Justin Hayward’s guitar and Mike Pinder’s various Mellotrons, in particular, sound really crisp, and all of the singing comes out with more detail as well.
Their repertory at this time came primarily from “Days of Future Passed”, “In Search of the Lost Chord” and “On the Threshold of a Dream”, plus “Gypsy”, the one number from “To Our Children’s Children’s Children” — their then new album — that they actually performed live; the latter is also the opening number, and Hayward’s guitar work is most impressive, whether he’s playing the melody in the opening, or crunching out chords on the break.
“The Sunset” from Days of Future Passed, is a showcase for Pinder’s Mellotrons, the keyboard player slowly weaving lush Arabesques and misteriosos while Hayward strums out muted chords, Graeme Edge’s drums impersonate the sound of a tabla and Ray Thomas’ flute hovers above it all with its lilting phrases. “Dr. Livingston, I Presume” lightens the tone with a more witty, whimsical side of psychedelia that still allows Pinder a chance to show off the Mellotron’s range and Hayward a surprisingly hard-rocking solo — one audience member, in particular, seems taken with it all, punctuating the crescendos with shrieks of appreciation that don’t detract a bit from the listening.
Edge’s nimble playing is most impressive on “Peak Hour,” a frenetically paced number off of Days of Future Passed, and the other highlights of the set include the hits “Tuesday Afternoon” and “Nights in White Satin,” and the closing suite from On the Threshold of a Dream, which works well despite Pinder’s being limited to just two keyboards — one scarcely misses the grand piano, and the opening sequence, “Are You Sitting Comfortably,” gives Thomas’ flute its best showcase.
The group is tight throughout, both in their playing and singing, and the show ends on a hard-rocking note with “Legend of a Mind” and “Ride My See-Saw” — and the former is a great vehicle for John Lodge’s bass work.
As for the studio cuts, they’re salvaged from failed album sessions in 1967 and 1968, and they’re not bad songs — “Gimme a Little Something” has a great opening verse, guitar part, and chorus, even if it doesn’t quite hold together perfectly as a song, and “King and Queen” and “What Am I Doing Here” both have hauntingly beautiful melodies. But they’re also not quite up to the standard of what the group released during that period, and work best in a historical, archival context, which is how they were issued.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion
Track List:
01. Gypsy – 4:03
02. The Sunset – 4:33
03. Dr. Livingstone, I Presume – 3:23
04. Never Comes The Day – 5:39
05. Peak Hour – 5:13
06. Tuesday Afternoon – 4:51
07. Are You Sitting Comfortably – 4:21
08. The Dream – 0:58
09. Have You Heard Part 1 – 1:22
10. The Voyage – 3:37
11. Have You Heard Part 2 – 2:33
12. Nights In White Satin – 5:55
13. Legend Of A Mind – 7:05
14. Ride My See-Saw – 4:30
15. Gimme A Little Somethin’ (Bonus Studio) – 3:13
16. Please Think About It (Bonus Studio) – 3:44
17. Long Summer Days (Bonus Studio) – 3:12
18. King And Queen (Bonus Studio) – 3:55
19. What Am I Doing Here (Bonus Studio) – 3:33
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Moody Blues – Live At The Isle Of Wight Festival 1970 (@256)
24 Mar 2010
(Review from amazon, about.com)
British art-rock pioneers the Moody Blues are captured in concert at their peak here, in a performance from the momentous Isle of Wight festival.
The Moodies were a hugely talented live band, no small feat considering the circumstances: the complexity of both their vocal harmonies and their instrumentation, and the fact that the electronic gadgetry they pioneered was still in its infancy, and demanded first-take perfection when performing live.
In spite of the challenges of pulling off complicated music in front of 600,000 people, the band seems relaxed and comfortable in this performance. Even when the vocals get a little out of sync at one point, they shake it off with a laugh and a quick one-liner and keep moving.
Proving that there was a powerful live unit beneath those big orchestral arrangements, the album displays several sides of the band’s musical personality. From the psychedelic pop of “Legend of a Mind” to the proto-prog epic “Nights in White Satin” and the concise rocker “Question”, this is a multifaceted sound in full flight, buoyed by keysman Mike Pinder’s distinctive Mellotron work.
Line-up:
- Justin Hayward / vocals, guitar
- Ray Thomas / vocals, flute
- Mike Pinder / mellotron
- John Lodge / bass
- Graeme Edge / drums
Track List:
01. Gypsy – 3:16
02. The Sunset – 3:59
03. Tuesday Afternoon – 4:18
04. Minstrel’s Song – 4:25
05. Never Comes The Day – 4:45
06. Tortoise And The Hare – 3:29
07. Question – 5:44
08. Melancholy Man – 5:32
09. Are You Sitting Comfortably – 3:45
10. The Dream – 1:41
11. Have You Heard (Parts 1 And 2) – 7:56
12. Nights In White Satin – 5:00
13. Legend Of A Mind – 6:37
14. Ride My See Saw – 3:36
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Moody Blues – Seventh Sojourn (1972) (@256)
17 Jul 2009
(Review from progarchives.com, wikipedia)
In Seventh Sojourn, The Moody Blues replaced the Mellotron with a keyboard called the Chamberlin, a device similar to the Mellotron created by the original inventor of the device, Harry Chamberlin. It could simulate orchestral sounds more realistically and easily than the Mellotron.
“Isn’t life strange” was a huge hit single from the album, which consolidated the success the band enjoyed with their previous single “Question”. It is a beautiful 3 verse 3 chorus ballad with lush orchestration. It may seem like sacrilege to say so, but there a Bee Gees feel to the song in terms of structure and sound. It
“I’m just a singer (in a rock and roll band”) was the other hit single taken from the album, and finds the band in full heads down Status Quo mood. The song starts like an old steam train, with Graham Edge on drums winding up the pace gradually from a standing start to a frantic runaway train. Edge then maintains that driving pace over a wall of sound, with brief all encompassing stops only serving to emphasise the sheer power and volume of the piece. If your toes don’t tap along with this one, check if your legs have fallen off!
Ray Thomas contribution “For my lady” is a lovely sea shanty influenced song, while “New Horizons” is a softer “Watching and waiting” type song with more traditional Moodies sound.
These then are the highlights, but the album as a whole is coherent, and melodic from start to finish. This apparently belies the rather difficult atmosphere within the band during the recordings.
In the spring of 1974, after completing a tour of Asia, the group took an extended break — originally announced as a permanent break-up — Justin Hayward being the only one eager to go on. By this point the other band members were feeling exhausted and overshadowed.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion
Track List:
01. Lost In A Lost World – 4:41
02. New Horizons – 5:10
03. For My Lady – 3:57
04. Isn’t Life Strange – 6:10
05. You And Me – 4:19
06. The Land Of Make-Believe – 4:50
07. When You’re A Free Man – 6:05
08. I’m Just A Singer (In A Rock And Roll Band) – 4:17
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Moody Blues – Every Good Boy Deserves Favour (1971) (@256)
16 Jul 2009
(Review from progarchives.com)
From the lovely cover art to the opening creation myth, accompanied by gorgeous instrumentation (including a nice little Brian May-type doubletracked lead fanfare), we are led to believe that the Moody Blues have finally produced the concept album they’d always seemed to be promising. It certainly keeps going well, seguing into the driving and memorable “Story in Your Eyes”, but as the album continues, there’s no doubt that this is simply another collection of good songs loosely bound together.
Not that that’s a bad thing; this is just as much as a concept album as, say, “Sgt. Pepper”. “Our Guessing Game” is requisite Ray Thomas simple sweetness, saturated with melody and harmony, and “Emily’s Song” continues the lush loveliness with remarkable orchestration. “After You Came” hits fairly hard, in a Who-inspired vein, and features some nice guitar work. “One More Time to Live” is tender and lush and pretentious as a Moody Blues song should be, hearkening back to the questing drama of “Procession” to keep the concept going.
“Nice to be Here” (is there any doubt this is a Ray Thomas song?) is a cross between “Wind in the Willows” nursery rhyme psychedelia and Fogerty’s “Looking Out My Back Door”- perhaps a little too childish for some, but fun nevertheless. “You Can Never Go Home”, however, is a surging guitar-led anthem in the Justin Hayward style, mixing melancholy reflection with yearning romanticism. The final track, “My Song”, is the toughest song on the album to digest; the lyrics of the first and last verse may make you cringe, but the vocals work well; the music jumps around from passage to passage, teasing you with sonic textures, but gradually builds to a wrenching climax.
Is it anything they haven’t shown us before? Not really- the latter five of the “classic seven” Moody Blues albums are more or less interchangeable, but this one has the most lushly layered sonic signature- even compared to the orchestra on “Days of Future Passed”. Is it overblown and pretentious? Sure, but there’s still that endearing naivete and optimism to balance the grandeur. Is it “easy listening”? Well, it definitely belongs to the softer side of progressive rock, making even the Alan Parsons Project seem edgy by comparison- but if you’re in the mood to let your defenses down a bit and let the music wash over you, there’s few albums that will be as comfortable and yet as evocative as “Every Good Boy Deserves Favor”.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion
Track List:
01. Procession – 4:40
02. The Story In Your Eyes – 2:56
03. Our Guessing Game – 3:34
04. Emily’s Song – 3:42
05. After You Came – 4:39
06. One More Time To Live – 5:41
07. Nice To Be Here – 4:23
08. You Can Never Go Home – 4:14
09. My Song – 6:19
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Moody Blues – Live at the BBC (1967-1970) (@256)
14 Jul 2009
(Review from amazon)
While this assemblage of the BBC tracks is called “Live At The BBC 67-70″ there is more. The second disc is audio from TV tapings.
If you are a Moody Blues fan, this album gives you another side of the band. The track listings couldn’t be a better representation of the collective genius from the group. Not only are the hits and radio tracks available for your enjoyment but some of the more esoteric and underrated tunes (“Best Way To Travel”, “Visions Of Paradise, and “The Actor”). “Best Way To Travel” has never received the acclaim it deserves. The cover of the Animals hit “Don’t Let Me Be Misunderstood” was greatly constructed.
The back-to-back combination of “Tuesday Afternoon” and “Ride My See-Saw” offers enough exquisite beauty to enthrall the harshest critic but “Lovely To See You (With the acoustic guitar sounding as if it is in your living room) could accelerate the pulse of the most docile individual.
As you sample the choice cuts don’t forget to digest the short version of “Nights In White Satin” clocking in a shade over three minutes.”
Could you ever get enough versions of “Gypsy”? Its inclusion here only solidifies it’s golden splendor.
Forty-one tracks for your pleasure. Are you sitting comfortably?
Line-up:
- Justin Hayward / guitars
- John Lodge / bass
- Mike Pinder / keyboards
- Ray Thomas / flutes & sax
- Graeme Edge / drums
Track List:
CD1
01. Fly Me High – 3:00
02. Don’t Let Me Be Misunderstood – 2:23
03. Love and Beauty – 2:12
04. Leave This Man Alone – 2:52
05. Peak Hour – 3:21
06. Nights in White Satin – 4:22
07. Fly Me High – 2:45
08. Twilight Time (Evening) – 2:08
09. Dr. Livingston, I Presume – 2:58
10. Voices in the Sky – 2:50
11. Ride My See-Saw – 3:49
12. Best Way to Travel – 3:38
13. Voices in the Sky – 3:53
14. Dr. Livingston, I Presume – 2:58
15. Peak Hour – 3:29
16. Tuesday Afternoon – 3:24
17. Ride My See-Saw – 2:28
18. Lovely to See You – 2:25
19. Never Comes the Day – 4:33
20. To Share Our Love – 2:21
21. Send Me No Wine – 2:40
22. So Deep Within You – 3:06
23. Lovely to See You – 2:15
CD2
01. Nights in White Satin – 4:40
02. Morning: Another Morning – 2:58
03. Ride My See-Saw – 3:46
04. Dr. Livingston, I Presume – 3:01
05. House of Four Doors – 5:56
06. Voices in the Sky – 3:23
07. Best Way to Travel – 3:22
08. Visions of Paradise – 1:14
09. Actor – 1:50
10. Gypsy – 3:07
11. Sun Set – 3:47
12. Never Comes the Day – 4:21
13. Are You Sitting Comfortably – 3:00
14. Poem: The Dream – 0:52
15. Have You Heard – 5:42
16. Nights in White Satin – 3:03
17. Legend of a Mind – 4:34
18. Question – 4:54
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Moody Blues – To Our Children's Children's Children (1969) (@256)
13 Jul 2009
(Review from progarchives.com)
Moody Blues revert to a generally mellower style for this album, in fact at times they seem so laid back their heads must be touching the ground!
“Higher and higher” which opens the album briefly belies this, with its (strangely enough) ascending, upbeat melody, but the following “Eyes of a child”, establishes the dominant pace for the album.
There is though, much to enjoy here. “Candle of life” has a Bee Gees feel to it, with swirling orchestration, and a lovely piano backing (it made an excellent B side for “Question” when released as a single). “Watching and Waiting”, which the band had apparently expected to be a huge hit single, is a wonderfully melodic number, which washes over the listener in gentle waves of breathing keyboards.
That pretty much goes for the rest of the album. It’s hardly challenging and not really very progressive, but it is highly melodic and hugely relaxing, one for low lights and good company.
Line-up:
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
Track List:
01. Higher And Higher – 4:06
02. Eyes Of A Child I – 3:23
03. Floating – 3:01
04. Eyes Of A Child II – 1:21
05. I Never Thought I’d Live To Be A Hundred – 1:05
06. Beyond – 2:58
07. Out And In – 3:48
08. Gypsy – 3:33
09. Eternity Road – 4:18
10. Candle Of Life – 4:17
11. Sun Is Still Shining – 3:37
12. I Never Thought I’d Live To Be A Million – 0:33
13. Watching And Waiting – 4:15
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Moody Blues – Magnificent Moodies (1965) (@256)
12 Jul 2009
(Review from amazon, wikipedia, progarchives.com)
Moody Blues was founded in 1964 by Michael Pinder and Ray Thomas. They initially performed a rhythm and blues-based sound in Birmingham. Their debut album hit the streets in 1965.
The style of music on “Magnificent Moodies” differs greatly from what most people expect from a Moody Blues album. The sound is R’n'B influenced and rather naive and simple. The songs are all single length (2-3 minutes long). The song titles reflect the lyric themes very obviously.
“I’ll Go Crazy/ Something you got” are good examples of the early sound with the tortued vocals of Laine and “I don’t mind” featuring the vocal/piano powers of Mike Pinder. While “From the Bottom of my heart” and “Stop” two great Pinder/Laine originals, allow for the recognition of the maturing writing talents and vocal harmonies which would later become hallmarks of the band.
This edition of the album also includes 14 bonus tracks from the same era.
Laine and Warwick left the group in 1966, and were replaced by guitarist Justin Hayward and bassist John Lodge, as the band inspired and evolved the progressive rock style.
Line-up:
- Michael Pinder / keyboards and vocals
- Ray Thomas / bass, flute, vocals
- Graeme Edge / drums
- Denny Laine / guitar, vocals
- Elaine Caswell / percussion
- Clint Warwick / bass
Track List:
01. I’ll Go Crazy – 2:11
02. Something You Got – 2:52
03. Go Now! – 3:14
04. Can’t Nobody Love You – 4:03
05. I Don’t Mind – 3:27
06. I’ve Got A Dream – 2:52
07. Let Me Go – 3:13
08. Stop – 2:05
09. Thank You Baby – 2:30
10. It Ain’t Necessarily So – 3:21
11. True Story – 1:45
12. Bye Bye Bird – 2:50
13. People Gotta Go (Bonus) – 2:32
14. Steal Your Love Away (Bonus) – 2:15
15. Lose Your Money (But Don’t Lose Your Mind) (Bonus) – 2:00
16. It’s Easy Child (Bonus) – 3:13
17. I Don’t Want To Go On Without You (Bonus) – 2:46
18. Time Is On My Side (Bonus) – 3:03
19. From The Bottom Of My Heart (I Love You) (Bonus) – 3:28
20. And My Baby’s Gone (Bonus) – 2:21
21. Everyday (Bonus) – 1:49
22. You Don’t (All The Time) (Bonus) – 2:21
23. Boulevard De La Madelaine (Bonus) – 2:56
24. This Is My House (But Nobody Calls) (Bonus) – 2:35
25. Life’s Not Live (Bonus) – 2:35
26. He Can Win (Bonus) – 2:25
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Moody Blues – On The Threshold Of A Dream (1969) (@256)
12 Jul 2007
(Review from progarchives.com, vintageprog.com)
If you haven’t heard this album yet, you’re in for a treat.
Alluding to the listener’s likely state of mind, “On The Threshold of a Dream” features a brilliant succession of songs, instrumental segues and spoken poems. I haven’t heard a more cogent case for Moody Blues’ unusual approach to songwriting — allowing each of the five members to follow their own muse within the context of a group effort — than on this album.
What ties “Threshold” together is its swift pacing, using seamless segues to connect the band’s individual contributions into a cohesive whole. This technique prevents a musical morass from forming, a problem that plagued subsequent albums.
“Threshold” is symphonic and beautiful with great atmosphere, and the mellotron sounds heavenly. It proves that you don’t necessarily need 1200 time-changes in each song to make good music.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion
Track List:
01. In the beginning (2:07)
02. Lovely to see you (2:34)
03. Dear diary (3:56)
04. Send me no wine (2:21)
05. To share our love (2:53)
06. So deep within you (3:07)
07. Never comes the day (4:43)
08. Lazy day (2:43)
09. Are you sitting comfortably? (3:30)
10. The dream (0:57)
11. Have you heard? pt. 1 (1:28)
12. The voyage (4:10)
13. Have you heard? pt. 2 (2:26)
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Moody Blues – A Question of Balance (1970) (@256)
16 Apr 2007
(Review from vintageprog.com)
The Moodies entered the ’70s with another strong album. Actually, all the albums they released in their classic period (1967-1972) are good. The album opens with the symphonic energy of “Question”, one of the very best tracks Hayward ever wrote. Ray Thomas also contributed with one of his best tracks ever: “The Tide Rushes In”. John Lodge seemed like always to be in a happier mood than the rest of the band and wrote the energetic “Tortoise and the Hare” and the cheerful and slightly folk-influenced “Minstrel’s Song” for the album. Pinder’s “Melancholic Man” gets a little bit too repetitive. Fortunately, his other contribution “How Is It? (We are Here)” is much better. Another great Moody Blues album. It’s not so much more to say.
Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion
Track List:
01. Question (5:43)
02. How Is It (We Are Here) (2:44)
03. And The Tide Rushes In (2:57)
04. Don’t You Feel Small (2:37)
05. Tortoise and the Hare (3:19)
06. It’s Up to You (3:11)
07. Minstrel’s Song (4:27)
08. Dawning is the Day (4:21)
09. Melancholy Man (5:45)
10. The Balance (3:28)
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Moody Blues – Days of Future Passed (1967) (@256)
14 Feb 2007
Moody Blues – Days of Future Passed (1967) (@256)
(Review from progarchives.com)
“Days of Future Passed” really has stood up well to the test of time, due in no small part to the imaginative orchestration. This may not have been the first album to use the orchestra in this way (that is a well worn debate for the forum), but it arguably the most significant.
While “Days of Future Passed” was not the first Moody Blues release (many think it was), the band had effectively reinvented themselves since the pop orientated early work of the “Go now” era, the most significant change being the arrival of Justin Hayward. Hayward’s unique voice and guitar dexterity immediately gave the band the sound which we now associate so closely with them.
“Days of future passed” came about as a result of the Moody Blues record label Decca wishing to promote their new serious music subsidiary Deram. The idea was to demonstrate how far the recording process had come, with the introduction of such facilities as stereo and hi-fi. The band were afforded a generous amount of latitude to do their own thing, the use of the orchestra constituting a major investment and leap of faith on the part of the record company. It’s hard to see such a willingness by a record company, to take a risk of this nature, happening in today’s corporate environment.
It’s hard now to appreciate just how original this album was at the time of its release. The success of “Nights in white satin” as a single helped to boost sales significantly. Heard within the context of the album though, it makes for a superb finale. The track also contains a wonderful flute solo by the criminally under-recognised Ray Thomas, complemented by some superb bass work by John Lodge. Graham Edge adds one of his captivating soliloquies just before the final orchestral burst. As an aside, the “Cold hearted orb which rules the night” referred to by Edge is a television, the reference to it “removing the colours from our sight” reflecting the fact that the album predates the introduction of colour TV for the masses!
Justin Hayward’s vocals are excellent throughout, but especially on the atmospheric “Tuesday Afternoon”. The album is best listened to as a complete piece although tracks such as the two mentioned do sound great in isolation.
There’s little indication here of the direction the band would follow on later releases. Their instrumental prowess is largely stifled by the orchestra, but this is a superb album by any standards.
Line-up:
- Graeme Edge / drums
- Justin Hayward / guitars, vocals
- John Lodge / bass, acoustic guitar, vocals
- Michael Pinder / keyboards, vocals, mellotron
- Ray Thomas / flute, vocals
- The London Festival Orchestra: conducted by Peter Knight
Track List:
01. The Day Begins (5:49)
02. Dawn: Dawn is a Feeling (3:49)
03. Morning: Another Morning (3:40)
04. Lunch break: Peak Hour (5:16)
05. Tuesday Afternoon (Forever Afternoon) (8:48)
06. Evening: The Sun Set: Twilight Time (6:14)
07. Night: Nights in White Satin (7:38)
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Moody Blues – In Search of the Lost Chord (1968) (@320)
07 Jan 2007
(Review from progarchives.com)
The first album by the band as a rock group, as opposed to the virtually unrelated pop outfit of the 60’s (“Go now”), and their subsequent (excellent) one off orchestral project, “Days of Future passed”.
Inevitably much of the music now sounds somewhat dated. For example, the poppy “Ride my see-saw”, displays all the innocence of the flower power era, but in prog terms when seen in isolation is simplistic. There are however strong indications of high quality music which was to come.
“The actor” is a more structured piece with two distinct time signatures, which allows Justin Hayward to display his admirable vocal talents, backed by those now famous perfect harmonies.
Ray Thomas’ usually contributes one or two compositions to each album, on which he takes lead vocals. Had it not been for the fact that Justin Hayward has such a wonderful and distinctive voice, we would perhaps have enjoyed the privilege of hearing Thomas’ captivating vocals on a greater proposition of the band’s output. Here, Thomas’ contribution “Legend of a mind” is his tribute to 60’s guru Timothy Leary. This trippy, flute driven piece is actually quite progressive, but once again now sounds rather dated.
In all, the hippy, flower power influences are strong here, but that does not detract from quality of the music, which remains thoroughly enjoyable.
Line-up:
- Graeme Edge / drums
- Justin Hayward / guitars, vocals
- John Lodge / bass, acoustic guitar, vocals
- Michael Pinder / keyboards, vocals, mellotron
- Ray Thomas / flute, vocals
Track List:
01. Departure (0:44)
02. Ride my see-saw (3:38)
03. Dr. Livingstone, I presume? (2:58)
04. House of four doors (4:12)
05. Legend of a mind (6:36)
06. House of four doors, pt.2 (1:47)
07. Voices in the sky (3:25)
08. The best way to travel (3:14)
09. Visions of paradise (4:15)
10. The actor (4:39)
11. The word (0:48)
12. Om (5:44)
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